I'm using the Fx loop of the preamp.
Current config is:
Instrument goes into Microbass 3.
Effects are daisy-chained out of the Microbass 3's FX Send and back into its FX Return.
Microbass 3 output goes to amp.
The FX loop sequence is:
Microbass Fx Send ->
Sound generators: Octabass -> Mosaic -> Octamizer ->
Distortion: VT Bass -> Agro -> Soul Food ->
Sound shapers: Phase 90 -> Chorus ->
Microbass Fx Return
I'm comparing the 3x Octave pedals and similarly the 3x distortion ones (I'd never have the same types on at the same time).
Haha - most amusing! 🙂
It's in a chain of pedals which come out of the Fx loop of an EBS Microbass 3.
My test will be to put something else in its place and see if that has a similar (ahem) effect.
Yes, I'm thinking along those lines.
I'm also going to try putting an MXR Noise Clamp around the Fx loop (though it too is buffered), to see if that cancels it out. It does use up a pedal space, though.
Annoyingly, I noticed that the SansAmp VT Bass pedal seems to affect the sound even when it's off.
Whilst I could put in a bypass switcher to take it out of circuit, that's then using up more space, so it looks like it's "no" for that one.
On the prog side, though known as a pick player, Chris Squire had a percussive technique where he'd hit the note a second time with the edge of his thumb.
Not exactly funkaholic, but a sideline to the development.
Nah - Proggers were post- hippies.
Certainly jazz-rock (Bruford, Stanley Clark, Weather Report, Colosseum II, Chic Corea, Alphonso Johnson) was pretty far from being hippy stuff and some of it spanned into funk & disco.
Aye - maybe omitted in the OP, but actually is at least as relevant as the guitar link there; based on that, I'd say that the funkers merely reinterpreted what already existed.
Since the guitar angle is allowed, though, it could simply be inferred to be interpretations of Flamenco guitar playing.